Trumpeter Pacho Flores will perform at the world premiere of a new trumpet concert next Monday, September 20 at 19:30 at the Barbican Center in London, United Kingdom. This premiere is the result of a commission, inspired by Pacho Flores himself, from Peter Ash, artistic director of the London Schools Symphony Orchestra, to Eleanor Alberga, an Afro-Caribbean composer (Kingston, Jamaica, 1949) of British nationality and residence.
Eleanor Alberga is a highly regarded British composer with commissions from the BBC Proms and the Royal Opera at Covent Garden. After studying piano and singing at the Royal Academy of Music in London, she began a career as a pianist which was then redirected to composition when she arrived at the London Contemporary Dance Theatre in 1978. After leaving the LCDT, she was able to focus entirely on composing, and since then the interest in her music has only increased. In 2015 her work ARISE, ATHENA!, commissioned by the PROMS for the opening of the Last Night, consolidated her international reputation as a composer of enormous talent and originality. Alberga has won several awards, including a NESTA Scholarship in 2000 and a Paul Hamlyn Award in 2019. In 2020 she was elected member of the Royal Academy of Music and in 2021 she received the Order of the British Empire for her services to music.
This new world premiere is, once again, the first of many to come for Pacho Flores along this 2021/22 season. He will afterwards perform the Swedish premiere of Caballos Mágicos, a trumpet concert by trombonist, conductor and composer Christian Lindberg, with the Swedish Chamber Orchestra and the composer himself at the podium. This piece had its world premiere last May in Santiago de Compostela (Spain) together with the Real Filharmonía de Galicia and its principal conductor Paul Daniel. During his stay in Sweden, Pacho will participate in the recording of an album with works by Lindberg, including this same concert as well as Un Sueño Morisco, a double concerto for trumpet and trombone commissioned and premiered by the ORTVE, with Ximo Vicedo on the trombone and the composer as conductor. In October, Pacho will premiere Historias de Flores y Tangos, by Daniel Freiberg, with the Oviedo Filarmonía and Lucas Macías. In November, he will return to the Royal Liverpool Philharmonic and Domingo Hindoyan for the British premieres of Concierto venezolano, by Paquito D’Rivera, and Pacho’s own work Cantos y Revueltas, in which he will be accompanied by the cuatrista Leo Rondón. Later on, in February 2022, he will perform the Spanish and US premiere of Paquito D’Rivera’s concert, with the San Diego Symphony under Rafael Payare and the Valencia Orchestra under Hernández-Silva, respectively; and between March and April the Brazilean premiere of Roberto Sierra’s concert Salseando, with the Sinfónica do Estado de São Paulo and Carlos Miguel Prieto, which will then see its French premiere in June with the Orchestre National de Bordeaux-Aquitaine and Manuel Hernández-Silva. After this, Pacho will return to Spain to premiere Concierto Mambí, by Igmar Alderete, with the Córdoba Orchestra and its principal conductor, Domínguez-Nieto.
Manuel Hernández-Silva and Marina Heredia are again working together, this time with the Spanish Radio Television Orchestra (ORTVE) at the Festival Internacional de Música y Danza Ciudad de Úbeda, in which they will perform El Amor Brujo by Manuel de Falla at the bullring of Úbeda next Saturday, September 18, at 22:00. The program of this concert also includes El Sombrero de Tres Picos, Suite No. 1 by Falla, Concierto de Aranjuez by Joaquín Rodrigo with guitarist Juan Manuel Cañizares, and Danzón No. 2 by Arturo Márquez.
Manuel Hernández-Silva and Marina Heredia had already performed El Amor Brujo together at the International Festival of Music and Dance of Granada in 2015, where they did a staged version by La Fura dels Baus at the bullring of Granada. Marina Heredia has become the most demanded Spanish singer to perform this iconic piece by Falla, as well as Spanish music in general. After this performance at the Úbeda Festival with Hernández-Silva, she will appear with the Rundfunk-Sinfonieorchester Berlin under Pablo Heras-Casado in two emblematic halls of the German capital such as the Philharmonie and the Konzerthaus, and later with the Orchestra da Casa da Música do Porto (Portugal) under Stefan Blunier. She has previously performed El Amor Brujo with ensembles such as the Chicago Symphony, the San Francisco Symphony and the Orchestre National de Lille (France) in venues such as the Carnegie Hall in New York, the Teatro Real in Madrid or the Opéra de Rouen, and she has also recorded this work with Pablo Heras-Casado for Harmonia Mundi. Marina’s latest album, ‘CAPRICHO’, is also being presented these days.
Hernández-Silva and Marina Heredia at a rehearsal of El Amor Brujo
Hernández-Silva, who conducted this same piece with the ORTVE at the Teatro Monumental in Madrid almost exactly one year ago, will meet again with the orchestra next month to conduct Brahms’ Requiem as part of the subscription concerts of the ORTVE. This season will also bring him to work with ensembles such as the ADDA Simfònica of Alicante, Orquesta de Córdoba, Orquesta de Valencia, Real Filharmonía de Galicia, Sinfónica de la Región de Murcia, Filarmónica de Gran Canaria, Nacional de Chile, Orquestra do Estado de São Paulo, Orchestre National de Bordeaux-Aquitaine or the Arctic Philharmonic. Important premieres will take place in several of these concerts, such as the Stabat Mater by Moreno Buendía (Murcia), or the trumpet concerts by Paquito D’Rivera (Valencia), Roberto Sierra (Bordeaux) and Daniel Freiberg (Norway), together with the trumpeter Pacho Flores.
Christian Vásquez conducts the Medellin Philharmonic Orchestra next Saturday, September 4, at the Metropolitan Theater of this Colombian city. The program includes Mussorgsky’s Intermezzo in modo classico, Mozart’s Clarinet concerto with Felipe Jiménez, and Bizet’s Symphony in C. The concert is part of a four-week residence within the selection process for a principal conductor that the orchestra is currently carrying out. Throughout this month-long residence, Christian Vásquez will conduct four concerts of different character and varied programs.
The next concert will take place on Friday 10 September at the Parroquia de San Juan Apóstol in Medellin with ensembles from the various sections of the Medellin Philharmonic—strings, wood, brass and percussion—. Vásquez will conduct works by Donizetti, Gounod, Wagner, Copland, Jorge Humberto Pinzón or Pacho Flores.
The following week, on Friday, September 17, Christian will conduct a popular program at the Theater of the University of Medellin as part of the social and community activities of the Philharmonic, which will include some of the most popular soundtracks of the last years by composers such as John Williams, Henry Mancini, Hans Zimmer, Lalo Schifrin, Howard Shore, Monty Norman or Ramin Djawadi. Christian’s residence will finish on Sunday, September 26 with an educational concert that aims to take the audience on a journey from Spain to various Latin American countries such as Brazil, Mexico, Cuba, Argentina and finally Colombia, through works by Ruperto Chapí, Gerónimo Giménez, Rafael Hernández, Pérez Prado, Miguel Matamoros, Alberto Nepomuceno, Antonio Estévez, Lucho Bermúdez or Miguel Ángel Martín.
Christian Vásquez is Music Director of the Teresa Carreño Symphony Orchestra of Venezuela, which he led on an important tour around Europe that took them to perform in London, Lisbon, Toulouse, Munich, Stockholm and Istanbul. Vásquez has also been Principal Conductor of the Stavanger Symphony Orchestra, as well as Principal Guest Conductor of the Het Gelders Orkest in The Netherlands and the Gävle Symphony Orchestra in Sweden.
Taller Atlántico Contemporáneo will perform within the Crumb-Lorca Project at the Granada International Music and Dance Festival on its 70th anniversary edition. This series of three monographic concerts is the core of the Crumb-Lorca Project, in which groups such as the Bretón Quartet, NeoArs Sonora or United Instruments of Lucilin dedicate part of their programs to the works of this North American composer. It is a historic event because the 12 works that George Crumb composed over more than half a century under the inspiration of Federico García Lorca will be performed together for the first time by Taller Atlántico Contemporáneo in these concerts.
This is a production of ACM Concerts for the Granada Festival, supported by the Centro Nacional de Difusión Musical. Taller Atlántico Contemporáneo (TAC) consists of singers Carmen Gurriarán and Verónica Plata, sopranos, Susana Ferrero, mezzo, and Isidro Anaya, baritone; André Cebrián, flute; Eduardo Martínez, oboe; Kathleen Balfe, cello; Joaquín Arrabal, double bass; Alba Barreiro, harp; Pedro Mateo González, guitars and banjo; Fernando Bustamante, mandolin; Carolina Alcaraz, Alejandro Sanz and Juan Antonio Martín, percussion; Nicasio Gradaille, piano; and Diego García Rodríguez, conductor.
George Crumb (Charleston, West Virginia, October 24, 1929), is one of the most important living composers on the current international scene and a key figure in the evolution of North American music in the second half of the 20th century. His enormous devotion to another of the most necessary artists of the 20th century, Federico García Lorca, led him to put music to a large number of texts by the poet from Granada over a period of half a century. His first approaches to Lorca’s work date back to the early 1960s, a decade in which he composed up to five works on texts from Libro de Poemas (1921), Poema del Cante Jondo (1921), Bodas de Sangre (1931) or Yerma (1934), but especially of Canciones (1927) and El Diván del Tamarit (1931). After a period of more than 15 years, he returned to Lorca in the mid-80s to put music to Canciones Infantiles, included in the poetry collection Canciones. And it is not until more than two decades later, and already at a very advanced age which hasn’t seen his passion for Federico diminished, that he faces his last three cycles so far, composed consecutively between 2008 and 2012.
Taller Atlántico Contemporáneo has a long history of dedication to the music of the 20th and 21st centuries, with special attention to Spanish and very particularly Galician composers, of whom it has premiered countless works, many of them dedicated to the ensemble. This Crumb-Lorca Project is an idea on which the TAC has been working for some years and that acquires a special significance for being carried out at the Federico Garcia Lorca Center in Granada. The TAC made his presentation at the Granada Festival in 2014 with a very interesting proposal that included Morton Feldman’s Rothko Chapel, along with the absolute premiere of Cinco Guerreros by Sebastian Mariné, commissioned by the festival. On that occasion, the link between the two works was painting, through the work of Mark Rothko and José Guerrero, who was from Granada and was influenced by Rothko after meeting him in New York.
Pacho Flores and Hernández-Silva will offer a concert with the Nord Czech Philharmonic as part of the Beethoven Festival in Teplice, in the Czech Republic, next Thursday, June 17. Due to the restrictions still in force in the Central European country, the concert will be held without an audience and will later be broadcasted on June 27 on the orchestra’s YouTube channel and other platforms. The Nord Czech Philharmonic, Severočeská Filharmonie or Nordböhmische Philharmonie, in Teplice, is an orchestra that has been continuously active since 1838, and since 1964 it has been responsible for organizing the Beethoven Festival. Hernández-Silva has already conducted the Nord Czech Philharmonic on previous occasions, not so Pacho Flores, for whom this concert means his debut with the ensemble. The programme consists of two concerts for trumpet—the Concerto for Corno da Caccia, by Czech composer Neruda, and the Czech premiere of the Concierto de Otoño by Arturo Márquez—together with Beethoven’s Symphony No. 5.
This collaboration with the Nord Czech Philharmonic is not the first between both artists; on the contrary, Pacho Flores and Hernández-Silva have a long history of joint presence with Spanish orchestras such as the Navarra Symphony Orchestra, the Orquesta Sinfónica de la Región de Murcia, the Malaga Philharmonic, the Simfònica de les Illes Balears and especially the Real Filharmonía de Galicia, with which they have performed several premieres and recorded the album Cantos y Revueltas for Deutsche Grammophon. New collaborations in Spain for the 2021/22 and 2022/23 seasons will be announced in due course, and new premieres are also planned with the Arctic Philharmonic in Norway or the Orchestre National de Bordeaux-Aquitaine in France. Recently, they have also been together with the Philharmonic Orchestra of Bogota (Colombia).
Arturo Márquez’s Concierto de Otoño is the result of the project of shared commissions for new trumpet concerts that Pacho himself has started. The concert was commissioned and premiered by the Mexico National Orquestra (Carlos Miguel Prieto), Tucson Symphony Orchestra (José Luis Gómez), Hyogo PAC Orchestra of Japan (Michiyoshi Inoue) and the Oviedo Filarmonía (Lucas Macías). This Czech premiere with the Nord Czech Philharmonie is the twenty-third performance since the first premiere in September 2018—the fourth under the baton of Hernández-Silva—, after having been performed in Mexico, USA, Japan, Spain, France, United Kingdom, Poland and Colombia.
Marina Heredia will participate as a guest artist with Pablo Heras-Casado, Solidarity Ambassador of the NGO, in the VII Gran Concierto de Ayuda en Acción at the Teatro Real in Madrid where she will sing El Amor Brujo by Manuel de Falla together and the Madrid Symphony Orchestra, on 15 June. Apart from this debut at the Teatro Real, Marina Heredia has performed El Amor Brujo with Pablo Heras-Casado and some of the most important orchestras in the world, such as the Chicago Symphony and the San Francisco Symphony. Together with the Orchestra of St Luke they performed this work at the Carnegie Hall in New York, and they will do it again next season with the Berlin Radio Orchestra in two mythical halls of the German capital such as the Philharmonie and the Konzerthaus.
In addition to Heras-Casado, Marina Heredia has often worked with some other important conductors on various occasions: Josep Vicent, at the Rouen Opera and the Lille Orchestra in France, and at the Palacio de Festivales de Cantabria; Manuel Hernández-Silva, in the spectacular production of La Fura del Baus at the Granada Festival with the Andalusian Youth Orchestra, and in a new collaboration with an important Spanish orchestra and festival that will be announced soon; or Antoni Ros Marbá, with the orchestra Ciudad de Granada at the Bilbao Musika-Música Festival. Marina Heredia became the most internationally demanded flamenco singer to afford the Falla’s El Amor Brujo.
On the other hand, Marina Heredia continues her brilliant career as a flamenco singer. On June 18 and 19 she will present her show Lorca y la Pasión. Un mar de sueños at the Teatros del Canal in Madrid, and on June 25 she will launch her fifth album with Universal, Capricho, whose single ‘Se nos perdió el amor‘, recently released, has the participation of the amazing trumpet player Pacho Flores as a guest artist.
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